Ink Spots (1932-1953)

August 31, 2010 
/ Contributed By: Michelle Granshaw

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Courtesy University of New Hampshire

The Ink Spots, a musical quartet, originally included members Orville “Hoppy” Jones, Ivory “Deek” Watson, Jerry Daniels, and Charlie Fuqua. Some accounts claim Slim Greene also was a founding member. Influenced by the Mills Brothers, all four members sang together under the name “King, Jack, and the Jesters” in 1932.  In late 1933, the group renamed itself the Ink Spots.

The Ink Spots toured Britain in 1934 and their overseas success earned them a recording contract with Victor Records. In 1935, they recorded their first four songs, including “Swinging on the Strings.”

In 1936, Daniels left the group and Bill Kenny replaced him. Around this time, the Ink Spots signed with Decca and began developing its distinct sound. The group’s vocal arrangements and use of guitar riff song introductions would influence future generations of doo-wop, rhythm and blues, and rock and roll musicians, including Elvis Presley and the Beatles. With the release of “If I Didn’t Care” (1939), the Ink Spots became one of the most popular quartets in the United States.  The group’s success continued throughout the 1940s with hits such as “We Three” (1940), “I Don’t Want to Set the World on Fire” (1941), “I’m Making Believe” (1944), “The Gypsy” (1946), and “To Each His Own” (1946).  The group also appeared in the films The Great American Radio Broadcast (1941) and Pardon My Sarong (1942).  Throughout World War II, the Ink Spots performed for the troops.  In 1944, they had another hit with “Cow-Cow Boogie,” which they recorded with Ella Fitzgerald.

By 1950, the Ink Spots’ popularity began to decline, but they remained in demand on the college circuit. As original members left the quartet, various singers performed with the group, including Bernie Mackey, Cliff Givens, Billy Bowen, Huey Long, Herb Kenny, Adriel McDonald, Teddy Williams, Ernie Brown, and Jimmy Kenny.

Starting in the 1940s, the quartet sued imitation groups using the Ink Spots name, but its legal problems increased when Fuqua and Kenny each formed groups called the Ink Spots in 1952.  The Decca Ink Spots officially played their last concert in 1953.

Since the original Ink Spots disbanded, dozens of Ink Spots imitators have formed and recorded.  Most of these groups have no connection to the Decca Ink Spots.  “If I Didn’t Care” was inducted into the National Academy of Recording Arts and Sciences in 1987.  The Ink Spots also were inducted into the Rock and Roll Hall of Fame (1989) and Apollo Theatre Hall of Fame (1993).

 

About the Author

Author Profile

Michelle Granshaw is an Associate Professor and Director of Graduate Studies in the Department of Theatre Arts at the University of Pittsburgh. She is affiliate faculty with the Global Studies Center, the European Union Center of Excellence/European Studies Center, Gender, Sexuality, and Women Studies Program, and Cultural Studies. At Pitt, she teaches in the BA, MFA, and PhD programs and mentors student dramaturgs. Granshaw was honored to receive the University of Pittsburgh’s 2021 Dietrich School of Arts and Sciences Excellence in Graduate Mentoring Award.

As a cultural historian, her research focuses on disenfranchised, and migrant communities and how they shaped and were influenced by the embodied and imaginative practices within theatre and performance. Her research interests include U.S. theatre, popular entertainment, and performance; performances of race, ethnicity, gender, and class; global and diasporic performance; and historiography.

Granshaw’s articles have appeared in Theatre Survey, Nineteenth Century Theatre and Film, Popular Entertainment Studies, Journal of American Drama and Theatre, Theatre Topics, and the New England Theatre Journal. In 2014, Granshaw was awarded the American Theatre and Drama Society Vera Mowry Roberts Award for Research and Publication for her Theatre Survey (January 2014) article “The Mysterious Victory of the Newsboys: The Grand Duke Theatre’s 1874 Challenge to the Theatre Licensing Law.” Her book, Irish on the Move: Performing Mobility in American Variety Theatre (University of Iowa Press, 2019) argues that nineteenth-century American variety theatre formed a crucial battleground for anxieties about mobility, immigration, and ethnic community in the United States. It was named a finalist for the 2019 Theatre Library Association George Freedley Memorial Book Award and supported by grants and fellowships including the Hibernian Research Award from the Cushwa Center for the Study of American Catholicism at the University of Notre Dame, American Theatre and Drama Society Faculty Travel Award, and Harry Ransom Center Research Fellowship. “Inventing the Tramp: The Early Tramp Comic on the Variety Stage,” part of Irish on the Move’sfirst chapter, also won the 2018 Robert A. Schanke Theatre Research Award at the Mid-America Theatre Conference. Currently, she is working on a new monograph titled The Fight for Desegregation: Race, Freedom, and the Theatre After the Civil War. In November 2022, she received an American Society for Theatre Research Research Fellowship in support of the project.

Granshaw currently serves on the Executive Board for the American Theatre and Drama Society (term 2021-5) and co-organizes ATDS’s First Book Bootcamp and Career Conversations series.

CITE THIS ENTRY IN APA FORMAT:

Granshaw, M. (2010, August 31). Ink Spots (1932-1953). BlackPast.org. https://www.blackpast.org/african-american-history/ink-spots-1932-1953/

Source of the Author's Information:

Deek Watson, The Story of the Ink Spots (New York: Vantage Press,
1967); Marv Goldberg, More Than Words Can Say: The Ink Spots and Their
Music
(Lanham, MD: Scarecrow Press, 1998).

Further Reading